UnWrapped: The Kidandali State of Mind

What is kidandali?

With the advent of recording technology, music went through a transformation, both in how it was produced and consumed. Recording gave the power to repeat. The power to re-iterate your message; establish your propaganda.

Repetition of the unalterable has always taken the initial form of a renewed affirmation of power and legitimate might…recording allows one to monitor noises, to maintain them and to control their repetition within a determined code- Attali, Noise.

I’ll make an assumption. I’ll assume kidandali forms the cultural framework for music in Uganda. I’ll describe it in relation to political discourse as a form of power, a way to silence any other marginal sounds that may be present.

Music seen from this point of view made me think of all the ways in which, if I were a government, would want to control all aspects of it. I’d want the media to keep in line with my vision for the country. I’d not want every sound to be heard, because they’d all be singing the stuff I dont want my people listening to. I’d want marginal sounds to be seen in a bad light. I’d want people to regard them as traitors or hooligans.

I’m not saying, Presidents are in the studio, making rules for producers when they’re making beats.

I just think it’s not such a far fetched idea, that change in sound of a nation might lead to change in social ideologies, and gradually cause a change in political ideas. That’d be a scary idea if I were a president interested in staying in power for a [looong] time; I’d need a system in place that would ensure that it’s only sounds that I endorse being played in the country.

Kidandali, I could describe saying stuff about marching band rhythms, trumpet stabs, congolese electric guitar melodies, groovy basslines etc. Music is music..it will always be dope..

I think it’s more a state of mind than anything else..